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The rigidly functionalist Maison Tristan Tzara, built in Montmartre, was designed following Tzara's specific requirements and decorated with samples of African art. [5] It was Loos' only major contribution in his Parisian years. [5] In 1929, he reconciled with Breton, and sporadically attended the Surrealists' meetings in Paris.
The works of Tristan Tzara include poems, plays and essays. A number of his works contain artwork by well-known artists of the time, including Pablo Picasso and Henri ...
The Gas Heart was first staged as part of a Dada Salon at the Galerie Montaigne by the Paris Dadaists on June 6, 1921. [11] The cast included major figures of the Dada current: Tzara himself played the Eyebrow, with Philippe Soupault as the Ear, Théodore Fraenkel as the Nose, Benjamin Péret as the Neck, Louis Aragon as the Eye, and Georges Ribemont-Dessaignes as the Mouth. [11]
Portrait of Tristan Tzara is an oil on paperboard painting by the French painter Robert Delaunay, created in 1923. It depicts the Romanian poet Tristan Tzara, a leading name of the Dada movement and a personal friend of the artists couple Robert and Sonia Delaunay. It is held in the Museo Nacional Centro de Arte Reina Sofía, in Madrid. [1]
Simbolul (Romanian for "The Symbol", pronounced) was a Romanian avant-garde literary and art magazine, published in Bucharest between October and December 1912. Co-founded by writers Tristan Tzara and Ion Vinea, together with visual artist Marcel Janco, while they were all high school students, the journal was a late representative of international Symbolism and the Romanian Symbolist movement.
The Tristan Tzara Arcade is a collection of Cut-up pieces composed from text found in the public domain. These pieces can be further arranged by the reader using an automated (jQuery script) reTypesetting function (which illustrates how possible variant compositions can be achieved using the Cut-up technique).
Edited by Dada co-founder Tristan Tzara (1896-1963) in Paris, Dadaglobe was not conceived as a summary of the movement since its founding in 1916, but rather meant to be a snapshot of its expanded incarnation at war's end. Not merely a vehicle for existing works, the project functioned as one of Dada's most generative catalysts for the ...
After writing his manifesto Ball stayed active in the Dada movement for another six months, but the manifesto created conflict with his fellow Dada artists, most notably Tristan Tzara. On March 23, 1918, Tzara wrote and published another, longer, Manifeste Dada 1918. [3] This manifesto was angrier and more nonsensical in tone. [4]